Following Little Monster Media\u2019s partnership with Syndicast, its sound design FX and ready to customise imaging kits are now becoming available to stations across the Syndicast network. The range includes production elements for experienced producers as well as pre built imaging packages designed for station directors and programmers who want professional sounding material that can quickly be adapted for their own brand.<\/p>\n\n\n\n
We spoke with Adam about what radio imaging actually is, why louder does not necessarily mean better, where stations often go wrong, how power intros strengthen a station\u2019s identity, and how broadcasters can start improving their imaging without immediately investing in fully custom production.<\/p>\n\n\n\n
1. What is radio imaging, and why does it matter?<\/strong><\/h2>\n\n\n\nPut simply, if it\u2019s not the music or a presenter talking, it\u2019s radio imaging! It\u2019s the glue that binds everything together and makes things flow seamlessly. It creates the character and identity of a station. If you had two stations with the exact same playlist, what makes them sound different? The imaging!<\/p>\n\n\n\n
<\/div>\n\n\n\n2. What actually makes a station sound professional, and where do most stations get it wrong?<\/strong><\/h2>\n\n\n\nA key part is the processing: the EQ and compression on a voiceover, and effects such as delay, reverb, etc. These are often too prominent on non-professional stations. Many stations don\u2019t understand how to properly EQ a voice; it\u2019s a learned skill. The key is using these tools subtly to embellish and lift the voice off the page, and not distract from the message, which is the most important part. Professional imaging is often described as \u201cpolished\u201d. The same applies to sound design. Many overcompensate for poor music edits or voice processing by using LOUD sound design. Again, a little goes a long way! Sound design is the glue; it shouldn\u2019t stand out on its own.<\/p>\n\n\n\n
<\/div>\n\n\n\n3. Tell us about Little Monster Media. How did you get into radio imaging?<\/strong><\/h2>\n\n\n\nI graduated from university in Bristol with a degree in Creative Music Technology, which got me in the door of my local radio station, GCap\u2019s GWR, working on the street team. The team leader introduced me to Ben Marks, now a ReelWorld imaging legend, who was the station producer at the time, as he needed someone to help him out with vox pops and simple editing tasks. Given the degree on my application, they thought I could help. Ben showed me what he does, explained what radio imaging was, and I was hooked there and then. I worked with him for free for two years around my street team shifts to learn my craft and cut a demo.<\/p>\n\n\n\n
Eventually, after applying for loads of jobs, I landed one across the road at rival company UKRD! I was there for seven years, working under another imaging legend, Colin McGinness.<\/p>\n\n\n\n
I started LMM in 2016 as a side project specifically for sound design, as I was fascinated with how these FX were made. I also freelanced for Pure Tonic Media, then ReelWorld, Benztown, and was also part of the original launch team of Wise Buddah\u2019s IMGR service under George Taylor, another imaging genius.<\/p>\n\n\n\n
In 2017, I moved on from UKRD to The Mix Group in the US, before taking the scary leap to take LMM full-time in 2019.<\/p>\n\n\n\n
Fast forward to now, and I\u2019ve been fortunate enough to work with some of the biggest radio stations in the world, most notably BBC Radio 1, 1Xtra, Radio 2, Kiss, Hits Radio, and RT\u00c9 in Ireland.<\/p>\n\n\n\n
<\/div>\n\n\n\n4. If a station has never used custom imaging, where should they start?<\/strong><\/h2>\n\n\n\nGrab an imaging kit, such as the freebie on the Syndicast platform<\/a>, Modern Pop, and have a play with it. See what works, what doesn\u2019t, and get a feel for what you actually need.<\/p>\n\n\n\nCustom imaging is more expensive, so you want to have a good idea of what you want and need before you look into it. Then hit us up at LMM for a chat! We\u2019ve also got a free little tool that helps you gauge where your imaging is at. You can try the Station Sound Score<\/a><\/strong> using the banner below.<\/p>\n\n\n\n
2. What actually makes a station sound professional, and where do most stations get it wrong?<\/strong><\/h2>\n\n\n\nA key part is the processing: the EQ and compression on a voiceover, and effects such as delay, reverb, etc. These are often too prominent on non-professional stations. Many stations don\u2019t understand how to properly EQ a voice; it\u2019s a learned skill. The key is using these tools subtly to embellish and lift the voice off the page, and not distract from the message, which is the most important part. Professional imaging is often described as \u201cpolished\u201d. The same applies to sound design. Many overcompensate for poor music edits or voice processing by using LOUD sound design. Again, a little goes a long way! Sound design is the glue; it shouldn\u2019t stand out on its own.<\/p>\n\n\n\n
<\/div>\n\n\n\n3. Tell us about Little Monster Media. How did you get into radio imaging?<\/strong><\/h2>\n\n\n\nI graduated from university in Bristol with a degree in Creative Music Technology, which got me in the door of my local radio station, GCap\u2019s GWR, working on the street team. The team leader introduced me to Ben Marks, now a ReelWorld imaging legend, who was the station producer at the time, as he needed someone to help him out with vox pops and simple editing tasks. Given the degree on my application, they thought I could help. Ben showed me what he does, explained what radio imaging was, and I was hooked there and then. I worked with him for free for two years around my street team shifts to learn my craft and cut a demo.<\/p>\n\n\n\n
Eventually, after applying for loads of jobs, I landed one across the road at rival company UKRD! I was there for seven years, working under another imaging legend, Colin McGinness.<\/p>\n\n\n\n
I started LMM in 2016 as a side project specifically for sound design, as I was fascinated with how these FX were made. I also freelanced for Pure Tonic Media, then ReelWorld, Benztown, and was also part of the original launch team of Wise Buddah\u2019s IMGR service under George Taylor, another imaging genius.<\/p>\n\n\n\n
In 2017, I moved on from UKRD to The Mix Group in the US, before taking the scary leap to take LMM full-time in 2019.<\/p>\n\n\n\n
Fast forward to now, and I\u2019ve been fortunate enough to work with some of the biggest radio stations in the world, most notably BBC Radio 1, 1Xtra, Radio 2, Kiss, Hits Radio, and RT\u00c9 in Ireland.<\/p>\n\n\n\n
<\/div>\n\n\n\n4. If a station has never used custom imaging, where should they start?<\/strong><\/h2>\n\n\n\nGrab an imaging kit, such as the freebie on the Syndicast platform<\/a>, Modern Pop, and have a play with it. See what works, what doesn\u2019t, and get a feel for what you actually need.<\/p>\n\n\n\nCustom imaging is more expensive, so you want to have a good idea of what you want and need before you look into it. Then hit us up at LMM for a chat! We\u2019ve also got a free little tool that helps you gauge where your imaging is at. You can try the Station Sound Score<\/a><\/strong> using the banner below.<\/p>\n\n\n\n
3. Tell us about Little Monster Media. How did you get into radio imaging?<\/strong><\/h2>\n\n\n\nI graduated from university in Bristol with a degree in Creative Music Technology, which got me in the door of my local radio station, GCap\u2019s GWR, working on the street team. The team leader introduced me to Ben Marks, now a ReelWorld imaging legend, who was the station producer at the time, as he needed someone to help him out with vox pops and simple editing tasks. Given the degree on my application, they thought I could help. Ben showed me what he does, explained what radio imaging was, and I was hooked there and then. I worked with him for free for two years around my street team shifts to learn my craft and cut a demo.<\/p>\n\n\n\n
Eventually, after applying for loads of jobs, I landed one across the road at rival company UKRD! I was there for seven years, working under another imaging legend, Colin McGinness.<\/p>\n\n\n\n
I started LMM in 2016 as a side project specifically for sound design, as I was fascinated with how these FX were made. I also freelanced for Pure Tonic Media, then ReelWorld, Benztown, and was also part of the original launch team of Wise Buddah\u2019s IMGR service under George Taylor, another imaging genius.<\/p>\n\n\n\n
In 2017, I moved on from UKRD to The Mix Group in the US, before taking the scary leap to take LMM full-time in 2019.<\/p>\n\n\n\n
Fast forward to now, and I\u2019ve been fortunate enough to work with some of the biggest radio stations in the world, most notably BBC Radio 1, 1Xtra, Radio 2, Kiss, Hits Radio, and RT\u00c9 in Ireland.<\/p>\n\n\n\n
<\/div>\n\n\n\n4. If a station has never used custom imaging, where should they start?<\/strong><\/h2>\n\n\n\nGrab an imaging kit, such as the freebie on the Syndicast platform<\/a>, Modern Pop, and have a play with it. See what works, what doesn\u2019t, and get a feel for what you actually need.<\/p>\n\n\n\nCustom imaging is more expensive, so you want to have a good idea of what you want and need before you look into it. Then hit us up at LMM for a chat! We\u2019ve also got a free little tool that helps you gauge where your imaging is at. You can try the Station Sound Score<\/a><\/strong> using the banner below.<\/p>\n\n\n\n
4. If a station has never used custom imaging, where should they start?<\/strong><\/h2>\n\n\n\nGrab an imaging kit, such as the freebie on the Syndicast platform<\/a>, Modern Pop, and have a play with it. See what works, what doesn\u2019t, and get a feel for what you actually need.<\/p>\n\n\n\nCustom imaging is more expensive, so you want to have a good idea of what you want and need before you look into it. Then hit us up at LMM for a chat! We\u2019ve also got a free little tool that helps you gauge where your imaging is at. You can try the Station Sound Score<\/a><\/strong> using the banner below.<\/p>\n\n\n\n
Custom imaging is more expensive, so you want to have a good idea of what you want and need before you look into it. Then hit us up at LMM for a chat! We\u2019ve also got a free little tool that helps you gauge where your imaging is at. You can try the Station Sound Score<\/a><\/strong> using the banner below.<\/p>\n\n\n\n
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